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Les Claypool

Purple Onion (Awaiting Repress)

Primus fans will dig it because it harkens aback to the band's early material. But it is also very eclectic, reminiscent of old Peter Gabriel, Tom Waits and Pink Floyd, explains virtuoso bassist, songwriter, and Primus frontman Les Claypool. This is my first real attempt at a solo record. Its been about coming up with ideas and then finding the right people and instruments to flesh them out. The album features guests such as Norwood Fisher and Fish Fisher from Fishbone, and Warren Haynes of The Allman Brothers and Govt Mule. Purple Onion will be released on Les own Prawn Song Records.

Sailing The Seas Of Cheese (Deluxe)

In a restoration personally overseen by Les Claypool, Primus' acclaimed 'Sailing The Seas Of Cheese' has been newly mixed in stereo and Dolby 5.1 Surround for the first time since its 1991 debut for an expanded deluxe edition to be released May 21 by Universal Music Enterprises.

The deluxe edition is pressed on 200-gram vinyl and features Claypool's new stereo mix of the album. In a "Mystery Vinyl" challenge for fans, 1000 unmarked, randomly selected copies will contain the new stereo mix on a yellow vinyl LP instead of black.

Regarding the album's new stereo and 5.1 mixes, Claypool says, "Musically, it holds up incredibly well. Sonically, it holds up fairly well. There's some old-style reverbs that are a little bit syrupy. With modern technology, we can fix some of that stuff. But we don't want to mess with it too much, because it is what it is. We want to fatten it up a little bit."

"The way that people listen to music now - as far as stereos and headphones - you can hear so much more, so the idea of remixing it is really going to suit the way people listen to music now," adds guitarist Larry LaLonde.

Four Foot Shack (Awaiting Repress)

How "deconstructed" can a group get? How about just one vocal, one bass, one guitar, and a basic beat supplied by stomping on a mini-tambourine-doohickey? That's exactly what everyone's favorite storyteller/narrator, Les Claypool, is incorporating in his new band, Duo de Twang. While Les is still pulling double duty with the Primus lads, he has also found the time to unite with his old buddy, Bryan Kehoe, who fans will recognize from several past Claypool projects, and also as one of the main actors from Les' hilarious jam band mockumentary, 'Electric Apricot: Quest for Festeroo.' But unlike Primus, DDT focuses more on the Americana/rootsy side of things - as heard throughout the band's debut recording Four Foot Shack, to be released via ATO Records.

And as evidenced by DDT's live shows and debut, Les and Bryan mostly mix traditional tunes, popular covers, and readings of Primus classics (all of which are usually barely recognizable when compared to the original versions). Case in point, the inclusion of "Battle of New Orleans," "Stayin' Alive," "Man in the Box," "Wynona's Big Brown Beaver," and "Jerry Was A Race Car Driver" on DDT's debut disc. "A lot of it is just stumbling across it," explains Les about how a tune is selected to be twang-ified. "You're twanging away, and then all of a sudden, something just comes out. And then you laugh about it or you don't. And then you move on. There are tons of songs that we've stumbled across, and these ones just happened to be the ones that stuck."

Upon hearing Four Foot Shack you'll quickly discover that Les and Bryan made it a point to keep things as live-sounding as humanly possible. "It was very live," admits Les. "In fact, it was a little difficult, with all the bleed of the stomping and the bass and the vocals. Every now and again you can hear the studio refrigerator come on or the dog barking at something outside in the background. Once it was there, you had to kind of leave it."

Les added, "The Twang project is me exploring a lot of stuff that I personally listen to; Johnny Horton, Vernon Dalhart, Jerry Reed, Bob Wills, Eddy Cochran stuff like that - it's another door for me to open. I'm doing this sort of Luther Perkins, Johnny Cash guitar-ish type part on my bass, by doing the old ding-dinka-ding, dinka-ding-dinka-ding on a lot of the stuff. It took me a little bit to get that. Now that I've gotten it, I can pull songs out of the air and it's surprising how many songs easily succumb to the twang, and can be complimented by the twang. When all is said and done, it's just a hell of a fun project for me right now. I'll do it 'til it's not fun anymore."

Monolith Of Phobos

Two worlds have collided, and what glorious and odd worlds they are. After Primus and The Ghost of a Saber Tooth Tiger completed a successful summer tour, Les Claypool and Sean Lennon decided to combine their abstract talents into a project called The Claypool Lennon Delirium. Their efforts thus far have spawned the full-length release Monolith of Phobos.

Released via ATO records, the album takes listeners on a stimulating psychedelic journey through the cosmos.

"Sean is a musical mutant after my own heart," said Claypool. "He definitely reflects his genetics-not just the sensibilities of his dad but also the abstract perspective and unique approach of his mother. It makes for a glorious freak stew."

Over the course of six weeks or so, the two wrote and recorded a total of ten songs with both of them sharing various vocal and instrumental responsibilities, going beyond their core instruments of bass and guitar.

Claypool explained, "Usually I play the drums and percussion on my records but Sean has such a different feel than I do, it just made more sense for him to man the kit on most of the tunes on this project. I took the helm at my old vintage API console and let him bang away. His drumming is like a cross between Ringo and Nick Mason. But I think folks will be most surprised by what a monster guitar player he is, especially when you prod him a bit."

In astronomical terms, the Monolith of Phobos is a large rock on Mars's Phobos moon. As the phrase implies, this album is an old-school approach to a psychedelic space rock record.

Of Whales And Woe

Les Claypool's 2006 studio release Of Whales and Woe features musicians Paulo Baldi (drums), Mike Dillon (percussion), Skerik (sax) and Gabby La La (sitar). The album is filled with quirky gems including the theme to the wildly popular animated series Robot Chicken.

The Desaturating Seven

Pressed On Clear Vinyl With Rainbow Splatter

Primus are excited to announce their ninth studio album The Desaturating Seven.

This is the first studio album of original material since 1995's Tales From The Punchbowl with the classic Primus line-up of Les Claypool (vocals, bass), Larry LaLonde (guitar) and Tim Alexander (drums). The Desaturating Seven is inspired by a 1970's children's book Claypool often read to his kids when they were growing up. The book tells a story of seven goblins one representing each color of the rainbow who simultaneously pull all of the color out of the world.

Many years ago when my children were little kidlets scurrying around the place wreaking havoc and whatnot till it was time for bed and book time, my wife turned them on to a book called 'The Rainbow Goblins' by Ul De Rico, Claypool explained. The dark imagery and beauty of the art struck me immediately and I thought, 'this would make good fodder for a piece of music.' The use of color and darkness both in the paintings and the writing was compelling and now, near two decades later, the metaphor of greed, gluttony and deceit vs unity of the masses is eerily relevant. I brought the notion to the Primus guys and they were all for it. Plus, I figured it's about time someone brought 'Goblin Rock' back to the fold.

1. The Valley 2. The Seven 3. The Trek 4. The Scheme 5. The Dream 6. The Storm 7. The Ends?

Ghost To A Ghost/Gutter Town (Awaiting Repress)

With his own new label, Hank3 Records, and the sense that he has thrown off the chains holding him back creatively, Shelton Hank Williams III, aka Hank III, is coming out swinging in 2011 with the release of four records. The unprecedented launch, in a distribution partnership with Megaforce Records (MRI), features a broad range of music that bridges more than one head-thumping genre, a familiar theme that true Hank III fans have embraced for years. Ghost to a Ghost/Gutter Town, a double-album set, is a straight-shooting country collection, flavored with Hank III's trademark hellbilly sound, and heavily weighted with Cajun influence (especially on Gutter Town) and an ambient, lonesome mood, and a few very special guests.

All three projects were recorded at The Haunted Ranch, Hank III's home and studio that lies on the outskirts of Nashville, a fitting place since the town has never really known what to do with this grandson of the American icon. He finally parted ways with Curb Records January 1. I have musical freedom. I'm able to say 'Here's my record' and I don't have to go through a million different channels just to put out a song, he says. It's all me now.

Hank III wrote the lion's share of the songs that appear on Ghost to a Ghost/Gutter Town. The players are Andy Gibson on steel guitar and banjo, who also aided in its recording, David McElfresh on fiddle and mandolin, Zach Shedd on standup bass, Daniel Mason on banjo, super-picker Johnny Hiland on guitar, Billy Contreras on fiddle, and Rory Hoffman on accordian. Guest appearances include the mythical Tom Waits on the haunted Fadin Moon from Gutter Town and on the Ghost to a Ghost title track, Alan King of Hellstomper, Les Claypool of Primus fame, Dave Sherman, Troy Medlin and Hank III's dog Trooper.

Cuts such as Gutter Town, Ridin The Wave and The Devil's Movin In on Ghost to a Ghost and Goin to Gutter Town, The Low Line and I'll Save My Tears on Gutter Town highlight both the excellent musicianship on the records, and Hank III's unmistakable, confident vocals. The release of all three projects represents a new birth for Hank III, and he's happy to have the chance. Megaforce Records has helped me with my vision to do something that never been done before, he says. They're handling my distribution, and I wanted to flood the market and do everything different. I wanted to come out of the gate strong. I'm opening up the mind a little bit and bringing some different styles together.

LP1 - Ghost to a Ghost1. Gutter Town2. Day By Day3. Ridin The Wave4. Don't Ya Wanna5. Ray Lawrence Jr.6. The Devils Movin In7. Time To Die8. Troopers Hollar9. Outlaw Convention10. Cunt of a Bitch11. Ghost to a Ghost

A body in motion tends to stay in motion, at least when The Mike Dillon Band is supplying the dance music. The psychedelic rock group shakes and gyrates with heavy, vibraphone driven grooves, delivering a steady stream of infectious rhythms and hypnotic percussion. -Pittsburgh City Paper

How many artists can claim being praised a punk rock provocateur, jazz vibraphone visionary and percussion virtuoso in the same sentence? There's only one: Mike Dillon. Whether through his affiliation with artists like Les Claypool, Brave Combo and Ani DiFranco, collaborations such as Garage A Trois, The Dead Kenny Gs and Critters Buggin or bands he's fronted, including Billy Goat and Hairy Apes BMX, the Texas-native has set his own standard for 25 years now.

With his latest effort, Band of Outsiders-released via Brooklyn label The Royal Potato Family-Mike Dillon has conjured the perfect storm of all these past endeavors. His manic creative vision found its match in three young musicians he met in New Orleans. Carly Meyers-whom Dillon describes as "a High Priestess of Trombone who channels the energy of Iggy Pop through the chops of JJ Johnson in second-line parade"-provides harmonic counterpoint to his vibes and percussion ("All Walks of Life") as she simultaneously ups the band's art-rock ante ("Carly Hates The Dubstep"). The rhythm section of bassist Patrick McDevitt and drummer Adam Gertner turns on a dime between snarling punk rock assaults ("Homeland Insecurity"), deep funky go-go ("Head"), ska grooves ("Here The Burro") and experimental hip-hop beats ("7AM At The Jazzfest") with all points covered in between.

Dillon recorded Band of Outsiders at Studio Center in Miami with the help of co-producers Gary Vandy and Richard Maloney Jr. Vandy is an old school engineer whose work includes over 200 platinum records predominantly in the disco and dance genres. His love of Zappa is what attracted him to Dillon's work. In the age of pro-tools chicanery, the production is straightforward, capturing Dillon and his band playing live in a room.

"Two tours of Mexico and a steady dose of Brazilian music was the jumping off point for these new songs," explains Dillon. "Add our love for The Melvins, Deerhoof, Bad Brains, Dead Kennedys, Trouble Funk and all things New Orleans and this album surpasses our intention to make the freakiest, most vibrant dance music on the planet."

Lyrically speaking, Mike Dillon draws from his love of Miguel de Cervantes, William Burroughs, Kurt Vonnegut and Robert Anton Wilson to tell stories of New Orleans debauchery mixed with age-old themes of travel, love, self-destruction and greed. Delivered with Dillon's trademark vocal rasp, the record has the intensity of a Tom Waits-meets-Frank Zappa black comedy. Rumor has it that Dillon lived for the past seven years in the same apartment that Waits shared with Rickie Lee Jones. Dillon discounts those rumors: This apartment has housed dudes from Morning 40 Federation, Ani DiFranco, an old Conga player and a bunch of heroin addicts."

Taken in its entirety, Mike Dillon's Band of Outsiders is a snapshot of four musicians hitting full stride. Having relentlessly toured the country in 2013-both headlining and opening for artists like Fishbone, Clutch, Primus and Galactic-its 13 songs bristle with a group mind, spill over the sides with the visions invoked during countless dead-of-night drives crisscrossing the country in a van and hit their target with a sonic assault only possible from a band that's played 400-plus shows over the last two years.

"People are always trying to figure out how to describe our music. Maybe we should call it New Orleans punk jazz Brazilian math rock? It's a gumbo of tribal percussion, The Meters, old school hardcore, Brazil, hard bop and anything else that might move us," concludes Dillon. "But you know, I really don't care what you call it. We kick out the jams harder than anyone, and we also know when to heed the lessons of The Minutemen's Double Nickels On The Dime and keep things straight to the point. There's a reason we called the record what we did. We're the living, breathing definition of a band of outsiders, but together we deliver simple majestic beauty, let's leave it at that."

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